Exodus

Exodus

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Exodus Reviews

Page 1 of 9
jjnxn
jjnxn

Super Reviewer

March 23, 2008
Starts well with fine performances and a clear and direct plot but loses momentum in second half and becomes somewhat scattered. Ralph Richardson is very good which is customary but when he exits the picture his absence leaves a hole which is never really filled.
sanjurosamurai
sanjurosamurai

Super Reviewer

December 21, 2007
this four hour epic chronicles the lives of jews in palestine in the aftermath of WW2. this is a great film with some of the most philosophical and thought provoking diologue one could hope to find in the movies. complete with hunger strikes, political bombings, jail breaks and beautiful symbolism of the relationship of humanity, the word epic is no stretch for this wonderful movie.
Harlequin68
Harlequin68

Super Reviewer

January 2, 2010
In "Exodus," Catherine Fremont(Eva Marie Saint) has been searching for a new purpose in life in the days just after the end of World War II after the death of her husband. She unexpectedly finds one after meeting with a friendly British general(Ralph Richardson) who is in charge of detaining of Jewish refugees in Cyprus, wanting to emigrate to Palestine. And after a less than enlightening conversation with Major Caldwell(Peter Lawford), she agrees to take up her old profession as a nurse in the camps, going so far as wanting to adopt Karen(Jill Haworth), an orphaned teenager. But Ari Ben Canaan(Paul Newman) has other ideas for his people, wanting to force the upcoming vote in the United Nations on partition by forcing the British hand.

Written by Dalton Trumbo(thereby officially ending the blacklist) and directed by Otto Preminger, "Exodus" is a contradictary, yet sturdy fictionalized epic account of the founding of Israel that is aided by great location filming. It should therefore come as no surprise that one of the major themes is rebirth. Sadly, this also marks the start of Preminger's prestige period which would be the beginning of his creative downfall when what was needed was more of the spirit from his brass balls period, especially considering how much the subject of terrorism comes up which is sadly still relevant. The one thing that might sound weird about a picture like this is that it is actually a caper film, the first the story of the boat Exodus, while the second is even more daring. Both are figurative chess matches while literal ones play out on screen. And Paul Newman is the right actor in the lead, just the wrong performance. What was needed was something on the order of the roguish leader he would play in later films like "Cool Hand Luke" and "Slapshot." Sadly, there is none of that charisma here to differentiate his character's defiance from that of the British soldier's need to mindlessly follow every order. The characters act as if they are already part of history in a wax museum for the most part.
Cameron W. Johnson
Cameron W. Johnson

Super Reviewer

August 18, 2012
Wow, back then, they really would get big-name stars in epics they don't belong in just for the sake of having big-name stars, because, I've got to say, Paul Newman feels really miscast. Well, maybe Newman's not that bad of a miscast, because in a couple of films, he had quite the tan going on, so I suppose I could see him as an Egyptian or something. Oh wait, this isn't about the Egyptians driving out the Israelites, though I think that you can see my confusion, not just because this film is about a conflict within Israel, but because this film is just so blasted long that you'd think that it's the prequel to "The Ten Commandments". Man, the Israelites just can't catch a break, and more people need to know of their struggles, partially because we've still got people getting them confused for other Middle Eastern areas that start with an "I", and we need to get some clarification out there before someone ends up blowing up Israel, thinking that it's Iraq or something. Hey, as nutty as our government is, I wouldn't be all that surprised if they let someone who can't tell Israel apart from Iraq and doesn't know that we're done with the Iraq War get to the point of blowing up Israel, though I certainly hope that doesn't happen, because, again, Israel has enough problems, and Butch Cassidy isn't around anymore to try and help it. I can think of plenty of people who would say that this film isn't quite as exciting as you would expect when thinking of it as Butch Cassidy trying to save Jews in Israel, and to those people, I proclaim a firm disagreement, because "Butch Cassidy and the Sundance Kid" wasn't really all that exciting to begin with. In fact, this film really is more exciting than "Butch and Sundance", which really isn't saying a whole lot, but it still needs to be said so that more people will see this film, as it is worth the watch, though not as much as it should be, and for more than a few reasons.

The film explored quite a few sensibilities that were unique at the time, yet still made too many plummets into some of its time's more problematic sensibilities, and regardless of how much critics give passes to old films simply because they're old, there's plenty that you have to judge more on a general scale rather than a relative scale, though even on the relative scale, with all of its advanced touches, this film still succumbs to a few sensibilities that were already going moved foward by many films by 1960, boasting a few fine examples of common missteps at the time, or at least they seem that way, what with Otto Preminger's neglecting to put his entire heart in keeping this mammoth film going. Preminger's direction is often flat, picking up here and there, if not quite a few times, yet generally finding difficulty in taking off, going held down by a kind of resonance distance, spawned from a fairly workmanlike attitude that Preminger attempts to make up for with atmospheric overemphasis on the writing, which is good and all, and certainly helps this film in more than a few places, considering that Dalton Trumbo's screenplay isn't too shabby and that the story is strong, but considering the emotional distance in Preminger's direction, all he does in plenty of cases is drag the film's writing down to flat with him. With all the things I can and most certainly will compliment, if not praise about the screenplay that plays a huge part in making this film as good as it is, it plummets into more than a few cliches and lays only so many notes upon its characters and, to a certain degree, story, yet Preminger's overemphasis on the writing, both good and faulty, intensifies the film's conventionalism and layers limiting to a glaring extent that sticks and taints the less cliched and more layered areas of the film with the same, or at least similar kind of atmosphere, until a huge chunk of the film wears an aura of unsubtlety, made worse by quite a few side effects of Preminger's directorial distance that lean a bit more on cheesy. The dialogue and story structure writing slips up on a few occasions, yet is generally well-done and advanced past this film's unsubtlety and workmanlike atmospheric limpness, though between the two, Preminger tends to be more emphatic of the "advanced past this film's unsubtlety and workmanlike atmospheric limpness" part, in that he pronounces this film's atmospheric and written differences with a kind of distance that leaves quite a few pieces of dialogue and quite a bit of lively characterization and humanity to fall flat, sometimes to the point of feeling histrionic and consistently to the point of feeling a touch false and unsubtle. The film is too unsubtle for its own good, and while that's not enough to crush the film, or even drop it as low as underwhelming, it does do some damage here and there and pronounces many aspects that I'd imagine this film would prefer to keep somewhat obscured, and that, of course, includes the film's Zionist overtones, which bear down on the substance and end up almost simplifying its intentions. Now, with all of the film's faults, its missteps are hardly ceaseless, and are hardly even all that potent, yet they do leave their mark of the film and slow down its momentum a bit, something that you really can't afford to have happen when you're dealing a three-and-a-half epic that hardly deserves its runtime, which it earns through excess material that further slows down the film's impact and leaves it at a very real risk of collapsing as underwhelming. However, whether it be because of compensation or my rule that if a film better be good if it's three-and-a-half hours or so, the film hits quite a bit more than it misses, making it to genuinely good by not much more than a little bit more than a hair, but making it genuinely good nevertheless, thanks partially to the more livening strengths that Preminger can't distance this film from.

Okay, maybe Preminger doesn't completely let Ernest Gold's score work through without tainting it in a few spots, sometimes manipulating it in an unsubtle fashion to overemphasize atmosphere, and occasionally even overemphasizing how the score will get sweeping in a fashion more suited for a film about the actual Exodus, or something from around the Biblical era, yet on the whole, Gold manages to pull through and deliver on a score that may not be especially unique, but has plenty of clever and lively touches that juice the essence of this film and keep it from dulling out. Of course, the score isn't especially prevalent, and when it is use, it's only really all that boastful here and there, so this film needs to rely on more than just music to sustain entertainment value, and that's where, of all people director Otto Preminger comes in, because if he drenches this film in any kind of atmospheric energy, then its ambition, which may get to be overbearing, yet generally creates a kind of striking charm that livens up this film and forges a degree of intrigue that may be hardly consistent, as the film remains all too often disengaging, yet generally sustains entertainment value, as well as your investment, to a certain degree. What further secures your investment are the relatively rare, yet well welcomed occasions in which Preminger does, in fact, find that golden moment where he does land a reasonably firm grip on the situation and sparks resonance that does intensify the intrigue and catch your attention, when the film needs to most. More consistent in his delivery on execution of the worthy story is screenwriter Dalton Trumbo, even though efforts are far from spotless, making missteps that go emphasized in Preminger's faulty direction, or at least making workmanlike touches that go messily mishandled by Preminger's faulty direction, yet on the whole, Trumbo crafts a fairly sharp screenplay, with a generally impressive and then-relatively advanced level of intelligence, both in a few spots in the dialogue and in much of the characterization and story structure, which may not have a whole lot of notes or subtlety to it, yet has enough steam behind it for you to attach yourself to the characters and story, while recieving quite a bit of help from the performances behind the characters in question, or at least a couple of them. There's not a whole lot in the way of material for most of our performers to work with, or if there is, then the performances go drowned out by the many moments of Preminger's directorial distancing, yet there are still a myriad of memorable character, who owe quite a bit of their memorability to the performers within this respectable ensemble cast, from which a couple of standouts emerge, from a considerably underused yet impressively emotionally-powered Sal Mineo as a Holocaust survivor tortured by traumatic memories and unbearable guilt over what he had to do to get by, to the typically worthwhile Paul Newman, whose Ari Ben Canaan character is surprisingly among the least layered on paper, yet still remains a compellingly firm figure looking to uphold justice by any means necessary, as Newman conveys with charisma and a fair deal of moments in which he dons a certain degree of somber intensity. Still, when you get down to it, one of the most towering saviors that make this film good is simply its story, which is so immensely fascinating and worthy, with dynamicity, weight and scope that presents intriguing themes, all built around compelling happenings. Were this story executed with more care and subtlety, with less conventions and overtones that border on propaganda, it would have made for a pretty strong film, or at least one that's more than just a fair couple of bumps beyond underwhelming, yet at the end of the day, the story does stand strong on its own, and when graced the aforementioned livening supplements, it makes for a film that stands as ultimately rewarding and rather provocative.

To summarize, director Otto Preminger often keeps a kind of workmanlike distance that leaves resonance to take some damage, especially through his failed attempts at compensation through excessive atmsopheric overemphasis on Dalton Trumbo's script, which not only leaves such writing faults as cliches and limited layers over characters and story to glare, but exposes the difference in quality between the writing and direction in a somewhat awkward fashion that exacerbates the distance, and with subtlety going further hurt by striking overtones that haze the film's good intentions and momentum going further slowed down by the film's excessive length, the final product is left not as strong as it should have been and could have, yet still strong nevertheless, going graced by lively entertainment value, complimented by Ernest Gold's fine score and largely spawned from the charm within the ambition of Preminger's direction, which has its inspired occasions in which it especially sparks in its execution of Dalton Trumbo's flawed yet generally well-structured screenplay, whose execution goes complimented by quite a few memorable performances and goes built around an upstanding story, which helps the most in leaving "Exodus" to stand as consistently entertaining, sometimes resonant and ultimately provocative and worthwhile epic, even if it isn't quite what it should be.

3/5 - Good
August 12, 2008
Exodus... or how Zionism was romanticized for an American audience to get a broader acceptance.

This film is pure Zionist propaganda, with terrible stilted acting, triumphalist unreal dialogue stilted and an inane fictional scenario, like all propaganda films tend to be.

In short: it's chuck full of romantic bullshit, ergo gratia, a group of Jewish immigrants pull a Masada on a ship off the coast of Cyprus and so on and so forth with an ending that will make any self-respecting viewer want to vomit.

How unfortunate that many, if not most, of the places here depicted have been destroyed by the very same people this film tries to sanitize and exult.

This film could easily be place up there (or more appropriately "down there") with Jud Suss.

3:30 hours LOOOONG... no wonder comedian Mort Sahl, so they say, when attending the premiere, apparently bored by the lengthy film, stood up after three hours and exclaimed, "Otto, let my people go!"

Can't deny that both cinematography and locations were amazing, therefore I'm giving it a high mark of 2 stars out of 5.
September 5, 2012
Not as epic as the running time warrants. The performances are good, but the story doesn't have any focus and it loses steam as the movie goes along. Believe it or not, but I felt the great Paul Newman was miscast.

Grade: B-
March 29, 2011
A riveting story of the Jews struggles after World War II set against their desire for freedom from British occupation.
February 7, 2012
And the vote is for partition! Information, entertaining, yet not too sanitized depiction of life before the end of the British mandate. What a cast! And Paul Newman gets the schickza!
June 15, 2011
Powerful Film of a Ship of Jewish Refugee's in 1947, 611 of them to be exact, not allowed to sail to Palestine on the Exodus & seems no one else will help or take them.The Holocaust Survivors have Survived Hitler, they aren't about to let the British Government stand in their way.What they do changes History for all Jews to then have the Right to return to the Holy Land & claim their God Given Land.Everyone should see this film, it should be shown in Schools
jam233
July 8, 2009
A very well produced and quite a fine film. The performances are good, particularly Sal Mineo, Eva Marie Saint and Paul Newman. The direction is a little heavy handed, not a typical trait of Otto Preminger. And of course it's biggest flaw is it's staggering length. It wasn't always engrossing, a little more editing would have been a huge plus.
acebovey
September 15, 2007
Shirtless Paul Newman and a chance to learn about Israel's steps to independence? Don't get much more well-rounded than that.
tombowling49
April 5, 2007
Eva Marie Saint, Peter Lawford, Lee J Cobb, perform brilliantly on this Mystery. Your use to see Cobb in westerns, a real change of pace for him here. Good plottage and scenes.
November 23, 2013
The film may be uneven and bloated at times, but a memorable score, a literate script and strong performances make Exodus an enjoyable film that remains relevant today.
Sam F.
August 30, 2013
Finally! The wait is over! There was a time when I was watching Academy Award-winning composer John Williams conducting an orchestral medley of iconic film musical themes for an Academy Award ceremony and I had listed down some of the themes played, based on a rather helpful YouTube comment, which I then later searched and listened in full. One of those themes, with which I fell in love almost immediately, was the theme of Exodus, by Ernest Gold. I have waited few years as I searched for the movie, and now that I finally have, I dare say that the wait has been worth it.

Exodus is an epic story of freedom, love and peace. It follows a group of Jewish people making their exodus from Karaolos camp to Palestine, led by Ari Ben Canaan, with the help of American volunteer Katherine Fermont. This is followed by the Jews' struggle against the British forces in Palestine, which involves a couple of bombings, a prison break, a dilemma between brothers, the death of a major character and a growing social ravine between the distinguishable groups of the society. The film ends quite inconclusively on a hopeful note as Ari and the remaining children of Gan Dafna ride off in trucks to battle.

I shall not discuss on the political aspects of the film, for, as some of you might know, I am not particularly well-versed in matters pertaining to politics. Rather, I am here to discuss this film as a film alone and nothing more. Now, on the main aspects, the writing seems to be pretty good and the acting not too bad either. Sal Mineo, who was nominated for an Oscar for his supporting role as Dov Landau in the movie, performed quite solidly overall. Paul Newman's performance, while not his most iconic, is still as great as ever. Eva Marie Saint did splendidly while Jill Hamount could have been a little better - she was, I'll admit, a little awkward and wooden in some scenes, though she is remarkably beautiful.

Now onto the technical aspects. The cinematography is brilliant, with sweeping and wide-angle views of the Palestinian landscape. The most notable aspect, I would say, is Ernest Gold's score, which has led me to learning about the film in the first place. The main theme later became a song, called This Land Is Mine and was remixed time and time again by hip-hop artists into their songs, including Ice-T and T.I.. It captures the epic-ness of the tale, the struggle of the people and the hope of a better, more peaceful world. Apart from Ernest Gold's original score, the film also features others pieces of music such as Chopin's Nocturne in E-flat, a rather familiar-sounding Johann Strauss Jr. waltz (I think it's either the Kaiser-Walzer or Rosen aus dem Suden, but I can't be too sure) and Hatikvah, the national anthem of Israel.

Overall, as a film, this is a remarkable three-hour epic featuring high production values and a great message of fighting for world peace in hopes for a better world in the future.
ray
August 8, 2013
Was gibt es Schöneres als drei Stunden lang Paul Newman zuzusehen, wie er Israel besiedelt?

Exodus ist ein Bilderbuchbeispiel für eine Art von Film, die heutzutage nicht mehr gemacht wird, und auch gar nicht mehr verkauft werden könnte. Diese Aussage lasse ich mal so stehen, ohne echte Wertung, denn vieles was an Exodus anders ist, ist nicht gleichzeitig gut.

Zuerst einmal, Hut ab, für Premingers Entscheidung nur an Originalschauplätzen in Israel und auf Zypern zu drehen. Nur diese Entscheidung machte es ihm möglich, das wahre Ausmaß der Hitze in diesen Ländern einzufangen. Es sei ihm auch Respekt gegönnt für die unzähligen, toll choreographierten Massenszenen, in denen sich die Kamera elegant durch die Menge bewegt. In diesen Szenen, offenbart Exodus seine wahre Größe. Durch die Massen an Flüchtlingen bahnt sich die Kamera einen Weg - durch Nebensächlichkeit und Alltäglichkeit - hin zu unseren Helden. Aber der Weg gibt uns das ganze Ausmaß des Leidens des Volkes Israel zu spüren.

Ein Monumentalfilm, er erinnert teilweise stark an Lawrence of Arabia, mit großem Aufwand und ernüchternder Laufzeit.
Mehr als drei Stunden ließ sich Preminger Zeit seine Geschichte in Gang zu bringen. Den Film könnte man aber ganz einfach auf zwei zusammenschneiden, und ich würde das wahrscheinlich sogar begrüßen. Jede einzelne Szene lässt sich Zeit sich zu entfalten, der Spannungsbogen ist irrelevant.
Suspense im herkömmlichen Sinne wird erst gar nicht erzeugt, und so verkümmern Hungerstreiks, Gefängnisausbrüche und Straßenkämpfe zu Szenen, Momenten ohne herauszustechen oder als Höhepunkte zu dienen.

Paul Newman scheint mir auch etwas fehlbesetzt zu sein. Den Actionheld nimmt man ihm natürlich schon ab, den jüdischen Freiheitskämpfer eher weniger.

Alles in allem, kann man Exodus nur als flach und ereignislos bezeichnen. Ein Widerspruch wenn man bedenkt wie viel eigentlich passiert. Allerdings dehnt sich jeder Handlungsrahmen auf einen so langen Zeitraum aus, dass er obsolet erscheint und an Wirkung verliert.
starlett2005
February 24, 2013
Exodus is an excellent film. It is about the founding of the state of Israel. Paul Newman and Eva Marie Saint give incredible performances. The screenplay is well written. Otto Preminger did a great job directing this movie. I enjoyed watching this motion picture because of the action and drama. Exodus is a must see.
Cameron W. Johnson
Cameron W. Johnson

Super Reviewer

August 18, 2012
Wow, back then, they really would get big-name stars in epics they don't belong in just for the sake of having big-name stars, because, I've got to say, Paul Newman feels really miscast. Well, maybe Newman's not that bad of a miscast, because in a couple of films, he had quite the tan going on, so I suppose I could see him as an Egyptian or something. Oh wait, this isn't about the Egyptians driving out the Israelites, though I think that you can see my confusion, not just because this film is about a conflict within Israel, but because this film is just so blasted long that you'd think that it's the prequel to "The Ten Commandments". Man, the Israelites just can't catch a break, and more people need to know of their struggles, partially because we've still got people getting them confused for other Middle Eastern areas that start with an "I", and we need to get some clarification out there before someone ends up blowing up Israel, thinking that it's Iraq or something. Hey, as nutty as our government is, I wouldn't be all that surprised if they let someone who can't tell Israel apart from Iraq and doesn't know that we're done with the Iraq War get to the point of blowing up Israel, though I certainly hope that doesn't happen, because, again, Israel has enough problems, and Butch Cassidy isn't around anymore to try and help it. I can think of plenty of people who would say that this film isn't quite as exciting as you would expect when thinking of it as Butch Cassidy trying to save Jews in Israel, and to those people, I proclaim a firm disagreement, because "Butch Cassidy and the Sundance Kid" wasn't really all that exciting to begin with. In fact, this film really is more exciting than "Butch and Sundance", which really isn't saying a whole lot, but it still needs to be said so that more people will see this film, as it is worth the watch, though not as much as it should be, and for more than a few reasons.

The film explored quite a few sensibilities that were unique at the time, yet still made too many plummets into some of its time's more problematic sensibilities, and regardless of how much critics give passes to old films simply because they're old, there's plenty that you have to judge more on a general scale rather than a relative scale, though even on the relative scale, with all of its advanced touches, this film still succumbs to a few sensibilities that were already going moved foward by many films by 1960, boasting a few fine examples of common missteps at the time, or at least they seem that way, what with Otto Preminger's neglecting to put his entire heart in keeping this mammoth film going. Preminger's direction is often flat, picking up here and there, if not quite a few times, yet generally finding difficulty in taking off, going held down by a kind of resonance distance, spawned from a fairly workmanlike attitude that Preminger attempts to make up for with atmospheric overemphasis on the writing, which is good and all, and certainly helps this film in more than a few places, considering that Dalton Trumbo's screenplay isn't too shabby and that the story is strong, but considering the emotional distance in Preminger's direction, all he does in plenty of cases is drag the film's writing down to flat with him. With all the things I can and most certainly will compliment, if not praise about the screenplay that plays a huge part in making this film as good as it is, it plummets into more than a few cliches and lays only so many notes upon its characters and, to a certain degree, story, yet Preminger's overemphasis on the writing, both good and faulty, intensifies the film's conventionalism and layers limiting to a glaring extent that sticks and taints the less cliched and more layered areas of the film with the same, or at least similar kind of atmosphere, until a huge chunk of the film wears an aura of unsubtlety, made worse by quite a few side effects of Preminger's directorial distance that lean a bit more on cheesy. The dialogue and story structure writing slips up on a few occasions, yet is generally well-done and advanced past this film's unsubtlety and workmanlike atmospheric limpness, though between the two, Preminger tends to be more emphatic of the "advanced past this film's unsubtlety and workmanlike atmospheric limpness" part, in that he pronounces this film's atmospheric and written differences with a kind of distance that leaves quite a few pieces of dialogue and quite a bit of lively characterization and humanity to fall flat, sometimes to the point of feeling histrionic and consistently to the point of feeling a touch false and unsubtle. The film is too unsubtle for its own good, and while that's not enough to crush the film, or even drop it as low as underwhelming, it does do some damage here and there and pronounces many aspects that I'd imagine this film would prefer to keep somewhat obscured, and that, of course, includes the film's Zionist overtones, which bear down on the substance and end up almost simplifying its intentions. Now, with all of the film's faults, its missteps are hardly ceaseless, and are hardly even all that potent, yet they do leave their mark of the film and slow down its momentum a bit, something that you really can't afford to have happen when you're dealing a three-and-a-half epic that hardly deserves its runtime, which it earns through excess material that further slows down the film's impact and leaves it at a very real risk of collapsing as underwhelming. However, whether it be because of compensation or my rule that if a film better be good if it's three-and-a-half hours or so, the film hits quite a bit more than it misses, making it to genuinely good by not much more than a little bit more than a hair, but making it genuinely good nevertheless, thanks partially to the more livening strengths that Preminger can't distance this film from.

Okay, maybe Preminger doesn't completely let Ernest Gold's score work through without tainting it in a few spots, sometimes manipulating it in an unsubtle fashion to overemphasize atmosphere, and occasionally even overemphasizing how the score will get sweeping in a fashion more suited for a film about the actual Exodus, or something from around the Biblical era, yet on the whole, Gold manages to pull through and deliver on a score that may not be especially unique, but has plenty of clever and lively touches that juice the essence of this film and keep it from dulling out. Of course, the score isn't especially prevalent, and when it is use, it's only really all that boastful here and there, so this film needs to rely on more than just music to sustain entertainment value, and that's where, of all people director Otto Preminger comes in, because if he drenches this film in any kind of atmospheric energy, then its ambition, which may get to be overbearing, yet generally creates a kind of striking charm that livens up this film and forges a degree of intrigue that may be hardly consistent, as the film remains all too often disengaging, yet generally sustains entertainment value, as well as your investment, to a certain degree. What further secures your investment are the relatively rare, yet well welcomed occasions in which Preminger does, in fact, find that golden moment where he does land a reasonably firm grip on the situation and sparks resonance that does intensify the intrigue and catch your attention, when the film needs to most. More consistent in his delivery on execution of the worthy story is screenwriter Dalton Trumbo, even though efforts are far from spotless, making missteps that go emphasized in Preminger's faulty direction, or at least making workmanlike touches that go messily mishandled by Preminger's faulty direction, yet on the whole, Trumbo crafts a fairly sharp screenplay, with a generally impressive and then-relatively advanced level of intelligence, both in a few spots in the dialogue and in much of the characterization and story structure, which may not have a whole lot of notes or subtlety to it, yet has enough steam behind it for you to attach yourself to the characters and story, while recieving quite a bit of help from the performances behind the characters in question, or at least a couple of them. There's not a whole lot in the way of material for most of our performers to work with, or if there is, then the performances go drowned out by the many moments of Preminger's directorial distancing, yet there are still a myriad of memorable character, who owe quite a bit of their memorability to the performers within this respectable ensemble cast, from which a couple of standouts emerge, from a considerably underused yet impressively emotionally-powered Sal Mineo as a Holocaust survivor tortured by traumatic memories and unbearable guilt over what he had to do to get by, to the typically worthwhile Paul Newman, whose Ari Ben Canaan character is surprisingly among the least layered on paper, yet still remains a compellingly firm figure looking to uphold justice by any means necessary, as Newman conveys with charisma and a fair deal of moments in which he dons a certain degree of somber intensity. Still, when you get down to it, one of the most towering saviors that make this film good is simply its story, which is so immensely fascinating and worthy, with dynamicity, weight and scope that presents intriguing themes, all built around compelling happenings. Were this story executed with more care and subtlety, with less conventions and overtones that border on propaganda, it would have made for a pretty strong film, or at least one that's more than just a fair couple of bumps beyond underwhelming, yet at the end of the day, the story does stand strong on its own, and when graced the aforementioned livening supplements, it makes for a film that stands as ultimately rewarding and rather provocative.

To summarize, director Otto Preminger often keeps a kind of workmanlike distance that leaves resonance to take some damage, especially through his failed attempts at compensation through excessive atmsopheric overemphasis on Dalton Trumbo's script, which not only leaves such writing faults as cliches and limited layers over characters and story to glare, but exposes the difference in quality between the writing and direction in a somewhat awkward fashion that exacerbates the distance, and with subtlety going further hurt by striking overtones that haze the film's good intentions and momentum going further slowed down by the film's excessive length, the final product is left not as strong as it should have been and could have, yet still strong nevertheless, going graced by lively entertainment value, complimented by Ernest Gold's fine score and largely spawned from the charm within the ambition of Preminger's direction, which has its inspired occasions in which it especially sparks in its execution of Dalton Trumbo's flawed yet generally well-structured screenplay, whose execution goes complimented by quite a few memorable performances and goes built around an upstanding story, which helps the most in leaving "Exodus" to stand as consistently entertaining, sometimes resonant and ultimately provocative and worthwhile epic, even if it isn't quite what it should be.

3/5 - Good
July 18, 2012
otto preminger's "exodus" may have great direction and really great performances all around, but it suffers from a lengthy running time. i'm a firm believer that no film should ever be longer than three hours, and this one in particular could have had a good hour cut out.
distantfires
November 19, 2010
208 minutes is 3 hours and 28 minutes. I don't know if there was an intermission when this film played in the theaters, but it requires extreme staying power when viewing on NetFlix. The adaptation of Leon Uris's book by Dalton Trumbo was terrible. In fairness, I must say it would be a challenge for any screenwriter. Uris's historical novel was 626 pages chronicling the lead up and the fight for a Jewish homeland. He tells an amazing story that is unfortunately glossed over in the film version. The acting of Paul Newman was below his later efforts and Eva Marie Saint acted as if she were a cardboard cut out. Sal Mineo had his moments but they were few and far between.

This is an important work by Leon Uris and I would recommend the book over the movie.
FilmGrinder S.
October 27, 2010
I thought it was a bit long and Newman was the wrong choice for the lead...no disrespect to Newman.
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